Das Frauenhaus von Brescia, 1920

CommentaryAfter the First World War, Expressionism also reached poster design. At first it was political posters that reflected the ›strife-torn times‹; they were followed by posters for art and culture. An important exponent of Expressionist film posters was Josef Fenneker.The story of the silent film ›Das Frauenhaus von Brescia‹ (Hubert Moest, 1920) is set in medieval Germany and is about a woman’s dramatic destiny: Heinrich der Lützelburger is crowned king of Langobardia. His wife Margarete follows after him, is taken prisoner in Brescia and put in a brothel. After a first showing in Hamburg in August 1920 (Lessing Theater) and the premier in Berlin (Marmorhaus) a month later, the film was banned by the film censorship board A 55 in a resolution of 27 July, 1921. After appeal, the film could be shown again from 21 September, 1921. The film company tried to get around a new ban by changing considerably a number of scenes. However, on 5 August, 1923, the film was banned for good.

After the First World War, Expressionism also reached poster design. At first it was political posters that reflected the ›strife-torn times‹; they were followed by posters for art and culture. An important exponent of Expressionist film posters was Josef Fenneker.The story of the silent film ›Das Frauenhaus von Brescia‹ (Hubert Moest, 1920) is set in medieval Germany and is about a woman’s dramatic destiny: Heinrich der Lützelburger is crowned king of Langobardia. His wife Margarete follows after him, is taken prisoner in Brescia and put in a brothel. After a first showing in Hamburg in August 1920 (Lessing Theater) and the premier in Berlin (Marmorhaus) a month later, the film was banned by the film censorship board A 55 in a resolution of 27 July, 1921. After appeal, the film could be shown again from 21 September, 1921. The film company tried to get around a new ban by changing considerably a number of scenes. However, on 5 August, 1923, the film was banned for good.